week16: Discussion artifact

Content:

It’s been an amazing adventure. The hero is a prince who has always been in love with the girl of his dreams. Until one day he looked at the girl in the painting and accidentally crossed into a completely strange world. When he woke up and looked around, he miraculously found the girl in the dream, he ran towards her regardless of everything, and wanted to talk to the girl, but found that the girl did not know him, and even thought he was a strange person. When the girl gets up to get her coffee, the prince notices a strange box (mobile phone) making a noise, and after he touches it curiously, he finds himself back in his original world. The girl came back after taking the coffee to find that the boy had already disappeared, instead, the game on the mobile phone showed ’game over‘.

storyboard:

Scene determination:

  1. If you want a cartoonish narrative, the model you choose may be cartoonish and concise.
  2. The selected character model and scene model need to be consistent
  3. Make some modifications to the downloaded model scene
  4. The prince will live in a castle setting, while the girls will choose a modern setting

Download scenes – castle and coffee shop:

Here, I changed the original scene, adjusted the position of the throne, modified the standing position of the guards and the decorations behind the throne, and modified the hall of the first floor to a higher floor, so that there will be more space, so that the interior of the castle is very magnificent. At the same time, I took into account the narrative of the story and, therefore, added the blue element representing the color of the country’s flag in this scene. I changed the color of the wall around the throne to blue, which contrasted with the prince in red clothes, and more highlighted the difference between the characters and the characters’ background.

Revamp the existing scene in order to match my story:

before
After

In the modern scene, the original model building map shows a huge parking lot outside the shopping mall, which is not consistent with my preset scene, because I want the prince to wake up in a meadow, and I don’t want to quickly reflect the prince through a modern world. Therefore, I modified the map here, changed the open space in front of the supermarket into a green lawn, and generated certain plants randomly through the brush. In this way, when the prince wakes up and looks around, the audience realizes that the prince has gone to another world, so there is a sense of contrast and mystery.

Delete part of scene
Add green ground & plants

In the modern scene of the cafe, I modified the original layout. Since both the prince and the girl are dressed in red, the use of red floor tiles here would be particularly crowded, so I changed the RGB of the ground map in the blueprint to make the floor show a cool color like blue. At the same time, I changed the seating from a low stool to a high chair, so that the main man and woman could sit side by side and appear in the same shot.

Before
edit the chairs and floor

The above is part of the scene modification show, in addition to the prince’s bedroom and other modifications. However, the main scenes and main props have been placed above, which can be well adapted to the production of subsequent animations. After I finished the scene, I began to experiment with camera placement to see what kind of shots and angles would be more appropriate for my animation. Below is a screenshot of my shot attempt.

Setting the shots:

week15: polishing spline

Through the previous steps, step by step production, there is no big problem in the general direction of the action, but now you need to polish the animation. In the process of polish, it is especially important to pay attention to the movement of the hands and the sandbag

feedback:

Pay attention to your hand movements
Note the movement of the sandbag

week 15: UE5 &TD

Course Introduction:
This course is designed to teach students how to import TouchDesigner projects into Unreal Engine 5 (UE5), combining the power of both to achieve more complex and efficient visuals. Through this course, students will learn the basic operation of TouchDesigner and UE5, as well as data transfer and synchronization techniques between the two.

In this class, I mainly learned two main knowledge points, the first is the method of importing touchdesigner in ue; The second direction is how to smoothly import motion capture animations into ue5.

Open the plug-in and use the advanced version through the link given by the teacher. This version can smoothly import the touchdesigner file into ue.

Export the touchdesigner file:

Create a random cube and import the touchdesigner video into the cube as a material, so that you can view the touchdesigner file in the file

Part two:

Part two:How to import vicon motion capture files into ue smoothly

Import FBX file: In the Content browser, right-click and select “Import to…” Options.
Navigate to the folder where you saved the FBX file and select the FBX file you want to import.
Import Settings: In the Import dialog, make sure the following options are set correctly:
Skeleton: Select the skeleton that matches the FBX file. If this is the first import, you can select “None” and a new skeleton will be created.
Animation: Make sure the “Import Animations” option is selected.
Mesh: If the imported file contains mesh data, you can also import it.

use ViconFemale_v2 to import Emily:

Import Animation sequence:

do ik rig for Vicon:

Check the skeleton:

Once the import is complete, locate the imported Skeleton in the content browser. Double click to open and check that the bone structure is correct.
Ensure that bone names and hierarchies are consistent with the model.

IK the Mannequins and Vicon:

Edit the Vicon pose and Mannequins, let both of them in the same pose:

Adjust the animation:

Find the imported Animation in the content browser. Double-click to open and check that the animation plays correctly.
The animation editor allows you to adjust the animation speed and loop Settings.

export animation sequence:

week14: Spline

On the basis of blocking, modified the action. Change the blocking to a standing position by turning your head on the spot for two seconds.

When doing spline, pay attention to timing control. Converting from blocking to spline will have some problems with the action, which should also be modified. At the same time, on the basis of last week’s blocking, after modification, we started this week’s spline.

Here’s the spline:

This week’s feedback:

Add more prep moves
With a lower center of gravity, the punch will appear harder

week 14: TouchDesigner learning

Through some examples of touchdesigner demonstrated by the teacher in class, I realized the strong usability of this software. There are many effects in this, which can make the video achieve a variety of different effects, so that I have more ideas and choices for making videos. In the class, I learned the basic usage of this software and some simple effect implementation, and I found that this software has great potential in animation production. If I have the opportunity in the future, I hope I can continue to study this software in depth and learn more.

think TD as Photoshop: give video different visual style

week13: Blocking

Blocking tips and tricks part2

  • Don’t rely too heavily on the timing of your reference out this point just be sure to utilize the thumbnail/sketches of the poses you have and just capture those. There is no need to be super in-depth about where certain things move or how long it takes this early on just trust in your drawings and create your poses off that first. Then once you have done that you can go back and make a timing/clean-up pass using your reference to help you a bit.
  • Be sure to use FK/IK where it is needed! If you are making a character rotate like flip, or roll you can switch it to FK and avoid all those unnecessary keys and instead utilize the free animation you get from it. Another reason for this is that you can get something called a gimble lock where you
  • Only need to adjust these IK/FK controls when your character leaves/touches the ground.
  • If you are working in stepped it would be a good idea to switch to spline now and then to check the motion path when it comes to extreme rotations.

This week do the blocking plus and I’m focus on the time, and how to show the power of the model.

feedback:

By controlling the waist, the accumulation is more obvious
In the punch, the range of motion is greater

week13: UE5 & livelink

You learned how to use livelink to connect your phone to UE5. Through the Settings, the UE5 on the mobile phone and the computer can be synchronized in real time, and the scene in the ue can be changed by moving the mobile phone up and down. It makes me feel more possibilities of using ue to create, and also makes me curious about more functions of ue.

Here are the steps to connect using software:

First, download the unreal VCam software on your phone, and then go to UE to open the Apple ARkit in the plugin.

Open the plug-in in ue. After ue restarts, the plug-in can be used

Ipconfig: Through ipconfig to determine the ip address of the computer, through the same ip address can make the phone and the computer to achieve the link.

Type the same ip address into your phone:

The image after implementing the link (the scene from the previous work is selected here)

week12: Layout

Blocking tips and tricks

  • if have similar poses going on throughout the animation, copy those poses and just give them slight translation and rotation adjustments so they are not the same.
  • Make sure the hand/fingers in your blocking on the key poses! They don’t need to look amazing but a nice rough pose especially if it helps the rest of the pose will help you a lot later down the line when it comes to spline and polish.
  • The main objective in blocking which goes for any type of animation work in the future is; Establishing KEY POSES/ POSES that tell the story and understanding the timing between these poses.

Here’s my layout:

feedback:

reset camera
pose change bigger
be beaten quicker

week12: Vicon introduction

This week’s class, I came to the motion capture classroom. The teacher took us step by step to start from scratch, wearing specially made black clothes with anchor points. In front of the green screen, make sure that there are no reflections on anyone in the room, as these reflections will affect the setting of the scene.

Emily trying the Vicon to record some pose:

The teacher taught us how to set up the camera so that every anchor point of the performer could be successfully identified. Because misidentification can distort the final captured action, a lot of time was spent setting up the camera and testing the integrity of the action and the motion capture so that the subsequent imported action could be more smooth.

Set the camera:

week11: Planning & Reference

Advanced Body Mechanics Planning

Going over acting with the body and pantomime. Planning your shot. 

Pantomime is any of various dramatic or dancing performances in which a story is told by expressive bodily or facial movements of the performers

How to Plan a shot:

  • the idea of getting from point a to point b
  • shoot video reference
  • draw thumbnails
  • find examples
  • do a workflow checklist

My planning: He throws a punch, but he gets knocked out by a bouncing punch bag

reference video:

2D planning: